BaL 24.10.20 - Pergolesi: Stabat Mater

[Darloboy]

Alpie has listed nearly 60 recordings. I've just listened to the 1981 BaL on this piece (thanks Mr Walsh). At that time there were only 4 recordings available. No sign of any period instruments of course. Scimone was first choice. The only other three available versions were: Ferrier/Henderson; Hodgson/Palmer/Guest; and Judith Raskin/Maureen Lehane/Orchestra Rossini Di Napoli/Franco Caracciolo. I think it's fair to say that the reviewer's job has become considerably harder over the last 40 years.

[vinteuil]

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... I did like the male soprano who was briefly featured (Can't remember his name!).

... this one, I think -

Jörg Waschinski, Michael Chance, Cologne Chamber Orchestra, Helmut Müller-Brühl

https://www.amazon.co.uk/dp/B0001NNLCK

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[CallMePaul]

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... this one, I think -

Jörg Waschinski, Michael Chance, Cologne Chamber Orchestra, Helmut Müller-Brühl

https://www.amazon.co.uk/dp/B0001NNLCK

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Pricey for Naxos - was it only issued in Germany despite the British counter-tenor?

[BBMmk2]

If i remember rightly,, I don’t think Abbado had a look in. Shame, as I think his recording is very good.

[LeMartinPecheur]

If i remember rightly,, I don’t think Abbado had a look in. Shame, as I think his recording is very good.

No, there was quite a lengthy discussion of CA, with his earlier version very strongly preferred. Which is yours BBM?

[Wolfram]

If i remember rightly,, I don’t think Abbado had a look in. Shame, as I think his recording is very good.

Both Abbado recordings got honourable mentions. Particularly his second with the Orchestra Mozart.

[LeMartinPecheur]

Both Abbado recordings got honourable mentions. Particularly his second with the Orchestra Mozart.

I thought it was his first. There was definitely a comment that re-recordings weren't always an improvement, and I thought it was the CA versions that prompted it. But I have been known to be wrong

[Pulcinella]

Pricey for Naxos - was it only issued in Germany despite the British counter-tenor?

This looks like its UK incarnation:

https://www.prestomusic.com/classical/products/7943734--pergolesi-stabat-mater-salve-regina

[gurnemanz]

Alessandrini couples the Pergolesi with the Alessandro Scarlatti and remains my choice, although I did like the male soprano who was briefly featured (Can't remember his name!). Barbara Bonney is too operatic for my taste so I will not be interested in today's winner.

I think Philippe Jaroussky (who I also very much enjoyed) was the only counter-tenor played. On offer here.

(PS I recently got his Verlaine settings twofer - very stylish and a bit different.)

[Wolfram]

I thought it was his first. There was definitely a comment that re-recordings weren't always an improvement, and I thought it was the CA versions that prompted it. But I have been known to be wrong

It was definitely CA's second recording he preferred; JS spent some time explaining why. It was the Les Talens Lyrique's second recording that I think he didn't like.

I like JS; he is methodical, vastly knowable - to be expected given his performing background, honest about his opinions and is able to get all this across to the listener in a relaxed and engaging manner; you learn as much about the work from him as you do the recordings themselves, which is exactly what you want from a good BaL. I feel that Andrew is quite respectful of JS; there was much less interrupting this time. As soon as poor Erica Jeal came on the line, back came the interruptions and interjections.

[Barbirollians]

What can top Kirkby /Bowman and Hogwood ?

[BBMmk2]

No, there was quite a lengthy discussion of CA, with his earlier version very strongly preferred. Which is yours BBM?

The second version, with Orchestra Mozart, is my favourite but I like his earlier version too.

[verismissimo]

Haven't listened to the programme, but one of my two versions (dir Timothy Brown) suffers from what might be described as 'Anglican cathedral' sound/singing, which seems inappropriate in Pergolesi. There has been a major revival of 18th century Neapolitan music (especially in Italy) in recent years, with much more vigorous and vital performance practice.

Did JS cover this aspect?

[Nick Armstrong]

Extremely waffling this morning.

I thought that for the first few moments, also a bit repetitive, e.g. on the ‘how jaunty should it be?’ point... so much so that I fell asleep listening.

But I had another go and thought the thing improved once JS hit his stride comparing a good number of versions.

That said, nothing I heard is going to prompt a purchase.

I have Akademie für Alte Musik Berlin with Anna Prohaska, Bernarda Fink - two favourite singers - and Concerto Vocale, Sebastian Hennig, René Jacobs, both BaL-approved. Barbara Bonney is another favourite and today's winner might tempt me. Also Jaroussky and the marvellous Sara Mingardo with Abbado. There again, I don't really need more recordings and should probably restrain myself from a new purchase.

I learnt this work from the Hennig/Jacobs/Concerto Vocale recording and have trouble with the more operatic approach of sopranos.

Listened to its current Qobuz incarnation (despite having the CD ) and I don’t feel any need for another version of a work I don’t listen to that much. I heard the selected Scholl/Bonney version and though pretty immaculate, it left me cold... for instance, the ‘paradisi gloria’ section near the end, heartbreaking in the Hennig/Jacobs performance (whose ‘Amen’ conclusion has a kind of grim power which seems completely right)

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(Incidentally, a technical point (this was aired in a thread which I can’t currently find - if it comes to light, I’ll move this paragraph): listening to this proved to me how Qobuz listening via Apple Airport Express is better via iPad - a 2020 iPad Pro - than iPhone - an iPhone 7. Using the phone, the higher notes of Sebastian Hennig, piercingly intense, caused a crackling break-up of the sound (I remember this happening on the musicassette which I first owned of this recording). Switching to Qobuz on the iPad eliminated this distortion - as well as giving an audibly richer sound throughout).

[BBMmk2]

I might explore further.